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CSI: Graceland
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Elvis stayed up all night on the day of August 16, 1977. This was not unusual behavior for the King of Rock 'n' Roll, for earlier, Elvis had entertained some friends, played the piano and sang, and even played racquetball in the early morning hours that day. Elvis retired to his bedroom sanctuary at approximately 8:00 am that morning. His fiancée, Ginger Alden, was staying with him, but sleeping in a different room. She was the last person to see him alive. In the hazy moments before his death it is obvious that Elvis was sitting on the toilet and reading a book. There are some witness contradictions as to whether Elvis was nude or wearing pajamas at the time of his death. Examination of the scene revealed that the bathroom had been cleaned prior to the medical examiner arriving. Bodily fluids were cleaned from the bathroom shag carpet and there were no prescription medicines at the scene of death. Elvis had probably been dead for many hours by the time his body was found.
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At 2:33 pm, a Memphis Fire Department ambulance from Engine House 29 responded to the emergency call, resuscitation was attempted, and by 2:56 pm, Elvis was quickly taken to the emergency room of Baptist Memorial Hospital. He was officially pronounced dead by attending medical personnel at 3:30 pm. The very sad announcement was made to the public at 4:00 pm. The autopsy commissioned immediately after his death involved draining all body fluids, removal of all vital organs, and sent to a pathology lab for testing to ascertain the cause of death. Subsequently, it was ruled that Elvis died as a result of coronary arrhythmia (an irregular beating of the heart resulting from myocardial infarction). The contents of Elvis' digestive tract, essential for determining intoxication levels, were not saved, and to this day prevents a realistic and conclusive official cause of death.
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| Visit the EricHatheway.com Elvis Shrine The #5 Elvis Shrine on the Web! |
The Truth Behind The Elvis Death Photo
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This is the true story behind the Elvis in his Coffin Picture that appeared on the front page of the Nation Enquirer Tabloid on September 6, 1977. This is not a story dealing with the supposed wax dummy that was placed in the King's coffin.
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Iain Calder, veteran Editorial Director of National Inquirer wrote a book entitled, The Untold Story: My 20 Years Running the National Enquirer. Calder admits they acquired the photo from Elvis' cousin Bobby Mann for $18,000. They bribed Mann to sneak a camera into Graceland and take a picture of Elvis’ corpse in the coffin. The shocking photo appeared on the cover of the Enquirer and led to a record-setting sale of 6.5 million copies for the issue. It has since become the most famous cover picture ever. The return on the $18,000 investment brought National Enquirer over 1000% profit.
Ever wonder about the casket chosen for the King of Rock 'n' Roll? Here is the truth. Robert Kendall was Elvis’ funeral director at the Memphis Funeral home where the arrangements were made for his burial. Having arranged the funeral service for Gladys Presley 19 years earlier, Mr. Kendall naturally thought it only appropriate that Elvis should be buried in an identical $8,000 casket as his mother. This particular model of copper lined casket also provided a 2 by 4 inch stainless steel cylinder for the purposes of identification in the event the remains were ever exhumed in the future. Such ID vials included the pertinent information on specially chemically treated paper. The contents of Elvis’ ID cylinder vial in his casket read as follows:
| Elvis Aaron Presley Born: January 8, 1935 – Died: August 16, 1977 Funeral: August 18, 1977 at Elvis Eulogy: 2:00pm at Graceland Interment same day at Forest Hills Cemetery (Midtown Memphis, Tennessee) |
| Visit the EricHatheway.com Elvis Shrine The #5 Elvis Shrine on the Web! |
Funeral For The King
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"On August 18, 1977 a funeral service for the late Elvis Presley was held at Graceland mansion. The funeral service was followed by a ceremony and the burial of the King of Rock 'n' Roll. A motorcade of 14 gleaming white Cadillacs moved in procession through the streets of Memphis from Graceland mansion to the Forrest Hill Cemetery. Those attending the funeral included, Priscilla Presley, Lisa Marie Presley, Vernon Presley, Minnie Mae Presley, Chet Atkins, Caroline Kennedy, Ann Margaret, Colonel Tom Parker, James Brown, Charlie Hodges, George Hamilton, Ginger Alden, Sammy Davis Jr. and Linda Thompson. Jackie Kahane gave the eulogy and Kathy Westmoreland sang Heavenly Father. The pallbearers at Elvis’ funeral were, Jerry Schilling Joe Esposito, George Klein, Lamar Fike Billy Smith, Gene Smith, and Dr. Nichopoulous. 'Son, Daddy will be with you soon,' cried Vernon Presley. He died two years later from a broken heart."
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| Visit the EricHatheway.com Elvis Shrine The #5 Elvis Shrine on the Web! |
EricHatheway.com Elvis Shrine No. 5 On The Web
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The wonderful and inspiring visage of our OnLine Elvis Shrine made an early appearance today after much public demand for an earlier release. After an emergency meeting, the attending Elvis Shrine Management determined that the only way to please the multitude of clicks and people was to open the Elvis Shrine much earlier than planned. Soon afterwards, an eMail alert arrived at the Shrine's central inbox that informed us of our Number Five ranking on Google. It has been a great year at the EricHatheway.com Elvis Shrine. Thank you. Thank you very much. Please visit the Elvis Shrine on this special day and don't forget to sign the guestbook. The ShrineMaster
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| Online Elvis Shrine @ EricHatheway.com | ||
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| The No. 5 Elvis Shrine on Google |
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My Son, Elvis Is Dead
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Download | Duration: 00:03:06 |
"Just after 2:00 p.m., Central Standard Time, on Tuesday, August 16, 1977 Ginger Alden found Elvis, face down and obviously unconscious, on the floor of the master bathroom at Graceland. Wearing only a blue top and yellow pajama bottoms, Elvis was found crouched over with his face dark and bloated. At approximately 3:30pm Elvis Presley was pronounced dead after an extremely frantic ambulance ride to Baptist Memorial Hospital in Memphis. At the hospital, a throng of highly trained medical specialists battled to save his life but to no avail. The official medical verdict was death by heart failure. Officials from Baptist Memorial Hospital reached Vernon Presley by telephone to tell him that his son was dead. Half an hour later, on the famous steps of Graceland, a very grief stricken Vernon Presley announced to the world: 'My son, Elvis is dead...' Vernon Presley died two years later from a broken heart."
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| Visit the EricHatheway.com Online Elvis Shrine The No. 5 Elvis Shrine on Google |
Prelude To Elvis Week
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As a prelude to the many wondrous festivities to be conducted during Elvis Week starting tomorrow, the EricHatheway.com staff proudly presents the best Elvis impersonation of all-time! The King himself even said so! This impersonation by Andy Kaufman was performed in 1979 on the Johnny Cash Show. Enjoy!
The wonderful and inspiring visage of our OnLine Elvis Shrine will appear tomorrow at 4:20 pm Memphis time. Please log on and behold the awesomeness of the OnLine Elvis Shrine that we have marvelously and wonderfully constructed for all your online shrine needs. Thanks to all those who donated Elvis relics to the Elvis Shrine. We are now the No. 7 Elvis Shrine on Google. Thank you. Thank you very much.
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| Online Elvis Shrine @ EricHatheway.com | ||
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| El Vez Jones The ShrineMaster eMail: shrinemaster@erichatheway.com Visit the Online Elvis Shrine | ||
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| The No. 5 Elvis Shrine on Google |
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Rumor Is True: No More Playboy Mansion Parties
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Okay, at some fondue party in the Valley the other night, the author here, Dirque du Soleil, sort of overheard something. Over the bubbling fondue pots, the normal party chatter and the groovy disco music, it came from around the corner in the kitchen, I heard it – confirmation of The Rumor. It had been going around Hollywood and the Valley for some time now. But still, it fell upon my ears like a sad rain – Hef is shutting down the Playboy Mansion party scene after all these years. This year's fabled Midsummer Night's Dream party and the famous Halloween party held every year at the Playboy Mansion will likely be the last. Word on the streets is that the girls aren't getting along so well, and Holly has made it clear that Hef is HER man, n'kay? We hear the Girls Next Door aren't being seen together as much around here too. And, to top it all off, it's going around that the Playboy Mansion will only be available for high-dollar customers who wish to have a party at the most swanky house in the world.
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Now, this seems to pretty reliable information here. The person who was heard confirming The Rumor was never seen you see – but, it was definitely a woman. You could tell she was a lively sort, but the voice and the hilarious laugh gave her away for sure. Besides, she was complaining about the fondue at the party. She said the fondue wasn't filling enough and she was going to take her booty down to the Olive Garden she saw on the way over here. Peace.
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| Dirque du Soleil |
| He's from the past, so he knows the future... |
| dirque@erichatheway.com |
| Click for Karma•••Meet the King of Dirque! |
Blue Screen Of Death Visits The Olympics
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At the opening of the Olympic Games in Beijing the other night, there was a notorious guest in the audience of nearly 100,000 spectators. The guest, who is very well known to the users of Microsoft's Windows operating system, was the infamous Blue Screen of Death. With all the technology the world has to offer on display that night, the planners of all that wizardry had to rely on an inexpensive piece of software with a reputation for crashing for the presentation of the opening ceremonies. (Actually, they did have a choice...)
Nobody plans for a computer crash, but it happens, and at the least opportune time, of course. The show at the Bird's Nest employed the use of some of the biggest LED screens the world has ever seen. And, those huge LED screens projected, in huge scale, the bane of all Windows users – that pesky Blue Screen of Death. The image actually appeared for only a few seconds to the crowd (thank goodness for redundant systems). The Blue Screen of Death, however, was captured on many of the cameras within the new Olympic stadium. This unfortunate display of computer instability came during the climax of the lighting of the Olympic Torch by Li Ning. (No need to guess what computers we use here!)
At the opening of the Olympic Games in Beijing the other night, there was a notorious guest in the audience of nearly 100,000 spectators. The guest, who is very well known to the users of Microsoft's Windows operating system, was the infamous Blue Screen of Death. With all the technology the world has to offer on display that night, the planners of all that wizardry had to rely on an inexpensive piece of software with a reputation for crashing for the presentation of the opening ceremonies. (Actually, they did have a choice...)
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Dada Lives!
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Dada stands for a movement of radical, cultural revolt: the disgusted response of artists to the débâcle of Western civilization and its values. Dada represents a revolt against art by artists themselves who, appalled by developments in contemporary society, recognized that art was bound to be a product, reflection and even support for that society and was therefore criminally implicated. Dada stands for exacerbated individualism, universal doubt and aggressive iconoclasm. Debunking the canons of reason, taste and hierarchy, of order and discipline in society, of rationally controlled inspiration in imaginative expression, Dada resorted to the arbitrary, to chance, the unconscious and the primitive, where man is at the behest of nature and gives up pretending to be its master. Dada delighted in the shock effect of its blasphemies among the right–thinking.
The Dadas themselves energetically promoted such an idea of their action and it is this image which has passed into history. At the same time as they insisted that Dada was indefinable, they stressed its simplicity for the sake of maximum impact. How is one to define, let alone confine, a movement which cannot be identified with any one personality or place, viewpoint or subject, which affects all the arts, which has a continually shifting focus and is moreover intentionally negative, ephemeral, illogical and inconclusive? The term Dada refers at once to an avant-garde movement, a cluster of existential attitude and to a conception of the life force itself at work in the world. Each incarnation of Dada was unique. It could never appear exactly the same twice because it made itself an accusingly distorted reflection of the milieu in which it happened to find itself.
The true Dadas were against Dada. Dadas baffled the efforts of critics and historians to pin down their movement by publishing mystifying and mutually incompatible accounts of their past exploits and of the significance to be attributed to them. A tentative understanding of Dada’s real identity must be sought somewhere between the misleading simplicity of the label and the diversity of Dada’s manifestations. The Dadas ridiculed Western confidence in the autonomy of the rational ego and the efficacy of reason. They denounced the post-Renaissance anthropocentric conception of reality which assumed that the world was organized according to humanly intelligible laws. They condemned bourgeois culture’s deadening determination to stabilize and categorize all phenomena. For the Dadas, nature was a state of constant flux. It was energy and motion in a simultaneous process of becoming disintegration, alien and indifferent to the affairs of men. The same lawlessness held true for the human psyche where uncontrolled and contradictory currents made mere flotsam of man’s conscious intentions, and demonic drives deflected them from their purpose.
It followed from their rejection of the belief in progress, in tameable nature and rational man, that the Dadas should cast doubt on the power of language, literature and art to represent reality. The information which the sensed communicated to men were misleading, even the ideas of the individual ‘personality’ and the external world were elusive and incoherent. How then could language, by definition an instrument of public communication, do other than deform and betray life’s authentic character as a discontinuous sequence of immediate experiences? The Dadas answered that words were mere fictions an that there was no correspondence between the structures of language and those of reality. Thus the belief in order which the power of a common, inherited language inculcated was illusory.
At their most intransigent, the Dadas turned their backs on art as a dangerous mystification. Art conferred a false stability on the ephemeral, giving substance to the illusion of an anthropocentric universe. As a compensation or comfort in the midst of life’s confusion, it deflected men’s attentions away from the real source of their problems. What Dada proposed was not the end of art as such but a radically new conception of creative activity, a fresh equation between the variables: art – self – reality. It was here that Dada’s originality lay rather than in its artifacts which, in form, were often unabashedly derivative of Cubism, Futurism, and Expressionism. Dada, like Surrealism after it, envisaged the artist as a spiritual adventurer for whom productivity was of secondary importance. Poetic significance and value was attributed to a certain stance before life. Moral exigencies were given priority over aesthetic ones.
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Dada stands for a movement of radical, cultural revolt: the disgusted response of artists to the débâcle of Western civilization and its values. Dada represents a revolt against art by artists themselves who, appalled by developments in contemporary society, recognized that art was bound to be a product, reflection and even support for that society and was therefore criminally implicated. Dada stands for exacerbated individualism, universal doubt and aggressive iconoclasm. Debunking the canons of reason, taste and hierarchy, of order and discipline in society, of rationally controlled inspiration in imaginative expression, Dada resorted to the arbitrary, to chance, the unconscious and the primitive, where man is at the behest of nature and gives up pretending to be its master. Dada delighted in the shock effect of its blasphemies among the right–thinking.
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The true Dadas were against Dada. Dadas baffled the efforts of critics and historians to pin down their movement by publishing mystifying and mutually incompatible accounts of their past exploits and of the significance to be attributed to them. A tentative understanding of Dada’s real identity must be sought somewhere between the misleading simplicity of the label and the diversity of Dada’s manifestations. The Dadas ridiculed Western confidence in the autonomy of the rational ego and the efficacy of reason. They denounced the post-Renaissance anthropocentric conception of reality which assumed that the world was organized according to humanly intelligible laws. They condemned bourgeois culture’s deadening determination to stabilize and categorize all phenomena. For the Dadas, nature was a state of constant flux. It was energy and motion in a simultaneous process of becoming disintegration, alien and indifferent to the affairs of men. The same lawlessness held true for the human psyche where uncontrolled and contradictory currents made mere flotsam of man’s conscious intentions, and demonic drives deflected them from their purpose.
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At their most intransigent, the Dadas turned their backs on art as a dangerous mystification. Art conferred a false stability on the ephemeral, giving substance to the illusion of an anthropocentric universe. As a compensation or comfort in the midst of life’s confusion, it deflected men’s attentions away from the real source of their problems. What Dada proposed was not the end of art as such but a radically new conception of creative activity, a fresh equation between the variables: art – self – reality. It was here that Dada’s originality lay rather than in its artifacts which, in form, were often unabashedly derivative of Cubism, Futurism, and Expressionism. Dada, like Surrealism after it, envisaged the artist as a spiritual adventurer for whom productivity was of secondary importance. Poetic significance and value was attributed to a certain stance before life. Moral exigencies were given priority over aesthetic ones.
Related c>log Articles
Dada: Response To The Horrors Of War
Dada: Merz ("something cast-off, as in junk")
Rest In Peace: Isaac Hayes
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Sad news from Memphis friends. The biggest legend in soul music, Isaac Hayes, passed away yesterday at his home. He was found at approximately 1:00 p.m. in his basement next to a treadmill. There is no autopsy planned for the 65 year old king of soul music.
Isaac Hayes is responsible for writing hit songs such as You Don't Know Like I Know and Soul Man. In addition, Isaac Hayes won an Oscar for Best Musical Score in the 1971 film Shaft. The song entitled Shaft and the music score for Shaft won several Grammy awards. Mr. Hayes was inducted into the Rock & Roll Hall Of Fame in 2002. His later career saw him become the self-professed ladies man and elementary school cafeteria cook called Chef on the hit animated series South Park.
Isaac Hayes is seen by many contemporary musicians as a major influence on their work. He is known as a pioneer in the genres of disco, soul, rap and urban comtemporary music. A self-taught musician, Hayes started working as a staff musician for the legendary Stax Records in the early 1960s and his first paid gig was with none other than Otis Redding himself in 1964. A prolific songwriter, Isaac Hayes penned over 200 songs at Stax Records and his own 1969 solo album Hot Buttered Soul hit Number 1 on the Billboard R&B charts and had a stay on the charts of over 10 weeks.
Sad news from Memphis friends. The biggest legend in soul music, Isaac Hayes, passed away yesterday at his home. He was found at approximately 1:00 p.m. in his basement next to a treadmill. There is no autopsy planned for the 65 year old king of soul music.
Isaac Hayes is responsible for writing hit songs such as You Don't Know Like I Know and Soul Man. In addition, Isaac Hayes won an Oscar for Best Musical Score in the 1971 film Shaft. The song entitled Shaft and the music score for Shaft won several Grammy awards. Mr. Hayes was inducted into the Rock & Roll Hall Of Fame in 2002. His later career saw him become the self-professed ladies man and elementary school cafeteria cook called Chef on the hit animated series South Park.
The Theme From Shaft Who's the black private dick That's a sex machine to all the chicks? SHAFT! Ya damn right! Who is the man that would risk his neck For his brother man? SHAFT! Can you dig it? Who's the cat that won't cop out When there's danger all about? SHAFT! Right On! They say this cat Shaft is a bad mother SHUT YOUR MOUTH! I'm talkin' 'bout Shaft. THEN WE CAN DIG IT! He's a complicated man But no one understands him but his woman JOHN SHAFT! |  |
Isaac Hayes is seen by many contemporary musicians as a major influence on their work. He is known as a pioneer in the genres of disco, soul, rap and urban comtemporary music. A self-taught musician, Hayes started working as a staff musician for the legendary Stax Records in the early 1960s and his first paid gig was with none other than Otis Redding himself in 1964. A prolific songwriter, Isaac Hayes penned over 200 songs at Stax Records and his own 1969 solo album Hot Buttered Soul hit Number 1 on the Billboard R&B charts and had a stay on the charts of over 10 weeks.
 | | Hot Buttered Soul EP (Remastered)  |
Official Super Buffet Take-Out & Grocery Bag
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| "City officials are considering charging grocery stores 17 cents each for grocery bags to discourage use of plastic sacks." |
| "Portland considering charge for grocery bags." |
| "Marks & Spencer is to introduce a 5 pence charge for plastic grocery bags in England, the company announced today." |
On your next take-out run or your next trip to the grocery store, be prepared for all the pounds of food you're about to haul home. Don't let that grocery store manager charge you for grocery bags to carry home food that you bought at his store! Our 100% super pure cotton canvas take-out and grocery bag has room for several pounds of fresh groceries or hot take-out fare thanks to the super reinforced side and bottom gussets and extra-long 22" handles for easy carrying all the way to your electric car. We use a 10 ounce heavyweight natural canvas fabric that is machine washable. The world famous Super Buffet logo proudly displays on both sides of the bag. And, the Official Super Buffet Take-Out and Grocery Bag measures a super-sized 15" x 18" x 6". Get yours today! It's just a click or two away! Mighty useful. Mighty stylish, um yeah...
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| Super Buffet Take-Out Bag Orange/Brown Item # 175078225 In Stock | Super Buffet Take-Out Bag Blue/Brown Item # 175078226 In Stock | ||
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On: The Golden Section
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A golden section is a line segment that has been divided into two parts in such a way that the ratio of the longer part (a) to the shorter part (b) is equal to the ratio of the entire segment (a + b) to the longer part (a). This can be indicated symbolically as a/b = (a + b)/a = phi (Greek lower-case letter), and this ratio, phi, is called the golden ratio. The concept of a golden section is of historical importance in aesthetics, art, and architecture. It has often been thought that a form, including the human form, is most pleasing when its parts divide it in golden sections. A related concept is the golden rectangle, which is a rectangle that has adjacent sides with lengths in the golden ratio.
The ancient Greeks felt that the golden rectangle had proportions that were the most aesthetically pleasing of all rectangles; the shape appears in many works from antiquity to the present. It is especially prevalent in Renaissance art and architecture. A golden rectangle has the property such that if a square with side equal to the rectangle's short side is marked off, the remaining figure will be another golden rectangle; this process can be repeated indefinitely.
A golden section is a line segment that has been divided into two parts in such a way that the ratio of the longer part (a) to the shorter part (b) is equal to the ratio of the entire segment (a + b) to the longer part (a). This can be indicated symbolically as a/b = (a + b)/a = phi (Greek lower-case letter), and this ratio, phi, is called the golden ratio. The concept of a golden section is of historical importance in aesthetics, art, and architecture. It has often been thought that a form, including the human form, is most pleasing when its parts divide it in golden sections. A related concept is the golden rectangle, which is a rectangle that has adjacent sides with lengths in the golden ratio.
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The ancient Greeks felt that the golden rectangle had proportions that were the most aesthetically pleasing of all rectangles; the shape appears in many works from antiquity to the present. It is especially prevalent in Renaissance art and architecture. A golden rectangle has the property such that if a square with side equal to the rectangle's short side is marked off, the remaining figure will be another golden rectangle; this process can be repeated indefinitely.
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Stop Making Sense And Interview Yourself
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Stop Making Sense is a highly praised concert film that features the Talking Heads live on stage in 1983. The film was directed by Jonathan Demme and was shot over a period of 3 evening concerts in December 1983. The Talking Heads album that was being promoted during this concert tour was Speaking In Tongues. The movies is most know for its 100% use of digital audio recording techniques.
In this rarely seen video for the promotional video for Stop Making Sense, David Byrne pulls off the impossible and interviews himself as only he could manage. Please note that Mr. Byrne is wearing his signature "big suit" so constructed as to "make his head appear smaller." David Byrne's style and delivery is reminiscent of Andy Warhol's clever but seemingly disinterested interview style. Just stop making sense...please.
Stop Making Sense is a highly praised concert film that features the Talking Heads live on stage in 1983. The film was directed by Jonathan Demme and was shot over a period of 3 evening concerts in December 1983. The Talking Heads album that was being promoted during this concert tour was Speaking In Tongues. The movies is most know for its 100% use of digital audio recording techniques.
In this rarely seen video for the promotional video for Stop Making Sense, David Byrne pulls off the impossible and interviews himself as only he could manage. Please note that Mr. Byrne is wearing his signature "big suit" so constructed as to "make his head appear smaller." David Byrne's style and delivery is reminiscent of Andy Warhol's clever but seemingly disinterested interview style. Just stop making sense...please.
| "Never underestimate the power of a good hairdo." |
| "Uh, no. Well, I hadn't thought about it." |
News From The Elvis Shrine
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Please be reminded that June 9th is cut-off date for accepting your Elvis relics for the Online Elvis Shrine. We are taking care of business and you will be treated to the visage of an improved Shrine on August 16th at 2:30 pm. Thank you very much!
| The ShrineMaster at EricHatheway.com |
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| El Vez Jones The ShrineMaster |
"Contact me for things like visitation hours, special tours and private tours in advance please. You will be sent GPS coordinates for the Elvis Shrine." eMail: shrinemaster@erichatheway Visit The Shrine "Contact me, El Vez Jones, if you would like to donate an Elvis relic to the Elvis Shrine. We will arrange for the installation and the donuts." |
Use Our Safe & Secure Super Buffet Server
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They told me to tell you that you can shop with confidence knowing our safe and secure Super Buffet Server is on the job! I have to go now, got a chat room meeting in like five minutes and self-defense lessons later. Peace!
- the WebMaster
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| " This website takes a lot of planning and it takes a lot of take-out....lol " |
| EricHatheway.com OnLine Store |
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On: Genre Painting
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Genre painting (from the French word genre, meaning "type" or "kind") is a term applied to works that depict secular scenes of everyday domestic work or recreation. The term is commonly used to distinguish such paintings from works of a religious, historical, or ceremonial character, which tend to elevate their subjects above the mundane level of ordinary existence.
Genre painting, which is characterized by realism, first appears as an element in early Renaissance art and northern European 15th-century religious painting. The frescoes Good Government (1339) in the Palazzo Publico, Siena, by Ambrogio Lorenzetti and the illuminated manuscript the Tres Riches Heures du Duc de Berry (c.1416; Musee Conde, Chantilly, France) by the Limbourg Brothers, combine glimpses of the daily life of the time with political and devotional themes.
Genre scenes play a far larger part in the work of Albrecht Durer and Pieter Bruegel, which led to the full flowering of genre painting in 17th-century Holland. Among the Dutch masters of the form were Gabriel Metsu, Adriaen van Ostade, Jan Steen, and Jan Vermeer. Their work, as distinct from the closely related forms of conversation piece and portraiture, was informal and anecdotal, depicting anonymous figures engaged in familiar activities. Since the 17th century numerous styles of painting have evolved that may be assigned to this category, and genre painting may now be graded as a fundamental, if not predominant, form of artistic expression.
Genre painting (from the French word genre, meaning "type" or "kind") is a term applied to works that depict secular scenes of everyday domestic work or recreation. The term is commonly used to distinguish such paintings from works of a religious, historical, or ceremonial character, which tend to elevate their subjects above the mundane level of ordinary existence.
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Genre painting, which is characterized by realism, first appears as an element in early Renaissance art and northern European 15th-century religious painting. The frescoes Good Government (1339) in the Palazzo Publico, Siena, by Ambrogio Lorenzetti and the illuminated manuscript the Tres Riches Heures du Duc de Berry (c.1416; Musee Conde, Chantilly, France) by the Limbourg Brothers, combine glimpses of the daily life of the time with political and devotional themes.
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Genre scenes play a far larger part in the work of Albrecht Durer and Pieter Bruegel, which led to the full flowering of genre painting in 17th-century Holland. Among the Dutch masters of the form were Gabriel Metsu, Adriaen van Ostade, Jan Steen, and Jan Vermeer. Their work, as distinct from the closely related forms of conversation piece and portraiture, was informal and anecdotal, depicting anonymous figures engaged in familiar activities. Since the 17th century numerous styles of painting have evolved that may be assigned to this category, and genre painting may now be graded as a fundamental, if not predominant, form of artistic expression.
Thrills! Shopping Is A Feeling
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Shopping is a feeling. Shopping is a thrill. So, uh, get your thrills today. Classic distressed retro finish looks like you got the shirt a long time ago. Shopping is a feeling, yeah. Purchase with confidence using our Safe & Secure Super Buffet Server. Umm...yeah.
| NEW! Retro T-Shirt at EricHatheway.com Online Store |
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| Click Here For Your Thrill |
| Available in many t-shirt styles & colors! |
Music Video: Istanbul (Not Constantinople)
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Istanbul (Not Constantinople) is a song that was originally written in a swing-style by Jimmy Kennedy and Nat Simon. The sound of the song is similar to the music for Puttin' On The Ritz which was written by Irving Berlin. Originally recorded in 1953 by the Four Lads, Istanbul (Not Constantinople) has seen various versions and covers of the song over the years.
The most recognized version of the song was performed by They Might Be Giants in 1990. The tempo of the song is much faster than previous versions and the tone of the song is light and whimsical. In 1991, the song was used in a music video that appeared on the animated television series entitled Tiny Toon Adventures. The visual style of the music video is very unusual and seems to display the creative sensibilities of Vassily Kandinsky and Joan Miró. The song has also been featured in an episode of The Simpsons, the 2003 film Mona Lisa Smile and the Pierce Brosnan version of Muppets Tonight.
In case you were wondering, the title of the song refers to the name change of the city of Constantinople to the Turkish name Istanbul. The city name of Constantinople was used on maps up until the 1960s even though the name was officially changed in the 1920s.
Istanbul (Not Constantinople) is a song that was originally written in a swing-style by Jimmy Kennedy and Nat Simon. The sound of the song is similar to the music for Puttin' On The Ritz which was written by Irving Berlin. Originally recorded in 1953 by the Four Lads, Istanbul (Not Constantinople) has seen various versions and covers of the song over the years.
The most recognized version of the song was performed by They Might Be Giants in 1990. The tempo of the song is much faster than previous versions and the tone of the song is light and whimsical. In 1991, the song was used in a music video that appeared on the animated television series entitled Tiny Toon Adventures. The visual style of the music video is very unusual and seems to display the creative sensibilities of Vassily Kandinsky and Joan Miró. The song has also been featured in an episode of The Simpsons, the 2003 film Mona Lisa Smile and the Pierce Brosnan version of Muppets Tonight.
In case you were wondering, the title of the song refers to the name change of the city of Constantinople to the Turkish name Istanbul. The city name of Constantinople was used on maps up until the 1960s even though the name was officially changed in the 1920s.
| Istanbul (Not Constantinople) by They Might Be Giants |
Cheech & Chong Together Again
c>log
In what appears to be a week of reunions, Cheech and Chong have announced their first tour in over 25 years. The tour will cover the nation and will include 22 dates with additional dates to be announced. Cheech & Chong: Light Up America will initiate ticket sales at 4:20 p.m. on August 8th. The tickets will be sold through www.livenation.com and you can get more information from www.cheechandchongtour.com.
Truly the comedians of the subculture, Cheech & Chong produced nine albums from 1972 to 1985. The duo has been nominated for four Grammy awards and they created the biggest selling comedy album in history, Big Bambu. Their venture into films proved profitable as well with their first movie Up In Smoke grossing $100 million at the box office in 1978. Together, Cheech & Chong have appeared in eight feature films all of which were directed by Tommy Chong. The announcement was made in Los Angeles at the Troubadour – the club where they were discovered.
In what appears to be a week of reunions, Cheech and Chong have announced their first tour in over 25 years. The tour will cover the nation and will include 22 dates with additional dates to be announced. Cheech & Chong: Light Up America will initiate ticket sales at 4:20 p.m. on August 8th. The tickets will be sold through www.livenation.com and you can get more information from www.cheechandchongtour.com.
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Cheech & Chong: Light Up America Tour Dates |
September 12 Tower Theatre Philadelphia, PA |
Tickets go on sale August 8th at 4:20 p.m. |
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Truly the comedians of the subculture, Cheech & Chong produced nine albums from 1972 to 1985. The duo has been nominated for four Grammy awards and they created the biggest selling comedy album in history, Big Bambu. Their venture into films proved profitable as well with their first movie Up In Smoke grossing $100 million at the box office in 1978. Together, Cheech & Chong have appeared in eight feature films all of which were directed by Tommy Chong. The announcement was made in Los Angeles at the Troubadour – the club where they were discovered.
David Byrne & Brian Eno Together Again
c>log
In 1981, twenty seven years ago, David Byrne and Brian Eno teamed up to make a landmark album called My Life In The Bush Of Ghosts. An extended version of the album was released in 2006. Arguable, this collaborative work represents a creative high-point in the careers of both musicians. This analog recording of electronica, ambient music and Third World music used sampled vocals and voices that had to be synchronized with the instrumental tracks on a trial and error basis. For Talking Heads fans, My Life In The Bush Of Ghosts was recorded on a break between Fear Of Music (1979) and Remain In Light (1980).
In 1981, twenty seven years ago, David Byrne and Brian Eno teamed up to make a landmark album called My Life In The Bush Of Ghosts. An extended version of the album was released in 2006. Arguable, this collaborative work represents a creative high-point in the careers of both musicians. This analog recording of electronica, ambient music and Third World music used sampled vocals and voices that had to be synchronized with the instrumental tracks on a trial and error basis. For Talking Heads fans, My Life In The Bush Of Ghosts was recorded on a break between Fear Of Music (1979) and Remain In Light (1980).
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